Ray Burmiston/Decca Classics Part of Barbican Presents 2019–20 Hall Barbican Mon 10 Feb 7.30pm Baillieu James with recital in Davidsen Lise

1 Lise Davidsen in recital Mon 10 Feb, Hall 2 Lise Davidsen in recital Mon 10 Feb, Hall Important information allowed in the hall. the in allowed are not Drinks queues. the to beat drinks interval -1, Gand 1. Pre-order Levels on are located Bars refreshment? for Looking 20-minute interval. 20-minute 9.15pm,about a with 7.30pm at and finishes at begins concert The and finish? start concert the does When for the curtain call. curtain the for –save it performance the recordings during Take or photos Please don’t…

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Advertising by Cabbell (tel 020 3603 7930) 3603 (tel 020 by Cabbell Advertising All information at time correct of printing Smith by Harriet produced Programme and ranges from youthful optimism to a fromand ranges youthful to optimism a of his career, most span that Brahms songs of aselection with begins ranging. She wide- Baillieu, bypiano strikingly is James the at recital, joined is she Her which for Wagner Strauss. to Richard ranging from Weber inhouse repertoire via anatural proved in the has herself and an exclusive recording She contract. vocal competitions prestigious at wins with few years waves overmaking past the been has youngThe Norwegian debut.recital in this, Barbican her Lise Davidsen Tonight we’re thrilled to introduce Welcome to tonight’s performance sense of tender resignation. Schumann’s resignation. of tender sense real treat: the tone-poem tone-poem the real treat: there’s them Among Nina, and Sibelius. a inspired by by his wife songs Grieg, with We take then to Nordic countries, the atrip relief. sharp in matter dramatic subject its sets to that it spareness Stuart Maria Head of Music Head HumphreysHuw you enjoy it. Ihope concert: awonderful to promises be It died. he year the before song, written last his very ‘Malven’, to rarities, not least well-known the was inspired by his wife), range from which by (who, Strauss songs Richard like Grieg, of asequence with closes Davidsen Lise rarely heard voice for guise and piano. is a late cycle, and has a a and has cycle, alate is

Luonnotar in its its in

3 Lise Davidsen in recital Mon 10 Feb, Hall 4 Lise Davidsen in recital Mon 10 Feb, Hall Brahms Hall Barbican Mon 10 Feb 7.30pm James Baillieu with recital in Davidsen Lise ‘Malven’, TrV297 41 Op ‘Wiegenlied’, 1 No Georgine’,‘Die 10 Op 4 No ‘’, Op R Strauss Traum’,‘Ein 6 No 48 Op 5 ‘Zur No Rosenzeit’, 48 Op Grieg Sibelius interval Sibelius Op Schumann Liebe’,‘Von ewiger 1 No 43 Op ‘Liebestreu’, 1 3No Op ‘Mädchenlied’, 107 Op 5 No Tale’, im unten ‘Da WoO33 6 No Part of Barbican Presents 2019–20 Presents Barbican of Part James Baillieu Lise Davidsen ‘Cäcilie’, 27 2 No Op 4 39 No ‘’, Op 135 ‘Dereinst, Gedanke Mein’, Gedanke ‘Dereinst, 2 No 48 Op 20minutes 37 Op Songs, Five Luonnotar ‘Auf Kirchhofe’, dem 105 Op 4 No ‘’, 10 Op 1 No

Gedichte der Königin der Gedichte Stuart Maria 10 No

soprano piano 70, Op

8

, Programme notes Programme Goethe, Mörike and Eichendorff. Goethe, Mörike and Eichendorff. –notably poets to great dedicated for settings narrative swapping by ofpsychodrama levels to new Hugo Wolf song-cycle. ofthe concept the invented he beloved’) ‘To distant the as translates (which cycle this with but songs his for known primarily not is An die ferne Geliebte captivating. the music is eternally but old-fashioned be may expressed sentiments The childbirth. and marriage comes engagement,In between widowhood. her with ends love and in falling woman ayoung with begins which songs ofeight asequence is Frauenliebe und -leben return. no be can there which from winter’s journey aharrowing undertakes love, in who, thwarted of atraveller Winterreise language song-cycles Great German- or, so, more even song-cycles. in asingle in found be can intensity That quartets. string greatest the rivals that intensity an have can it composers, finest ofthe hands the and, in 19ththe century in popular most its at was that agenre It’s accompaniment. orchestral with to song to refer it Wagner used and Mahler as such figures though apianist, and singer one just involves wordGerman for ‘song’. Usually it the is lieder) (plural lied simply Quite lieder? is What

took the song-cycle took the song-cycle

by Schubert tells the tale tale the tells by Schubert Beethoven Beethoven by Schumann by Schumann to Schubert’s song-cycle song-cycle to Schubert’s listening after Schumann to Clara twenties his into just Brahms ayoung evening.’ confided So yesterday Idid as sung lieder hearing from pleasure such experienced before never have ‘I (1833–93) Brahms Johannes 10 page see texts For settings there is a tension between remaining remaining between atension is there settings of Brahms’s each In identity. German particularly a for searching ofthem –all Brentano Clemens and Arnim von Achim Grimm, Brothers by the published and collected were stories and songs traditional when a time age, ofhis achild himself shows Brahms song folk with concern lifelong his In German. Bavarian in verses simple four case, this in songs, oftraditional 49 settings song-cycle, Brahms’s as last described be might of what apart is posthumously, published was which Tale’ im unten ‘Da and redemption. sacrifice at hinting part, piano woven the into as English in known chorale German venerable the And life. from released are now somehow coffins their in asleep lie who all that suggests Released) proclaimed: grave each on dew (Silent Genesen’ still: ‘Auf taute line final The Gräbern allen acceptance) to life. his colour seems later that (or perhaps ofresignation mood the matches churchyard the through awalk Brahms for –but say by would –wisely, some passed Liliencron, composers other whom a poet von by Detlev ofapoem setting a sombre It’s Switzerland. in staying was composer the of1886 while summer the in composed was ‘Auf dem Kirchhofe’ piano. and voice solo are for 300 about ofthese, voices; four and two one, for songs 380 some published all,In Brahms Schubert. followed consciously that the tradition by set songs wrote Brahms career his Throughout lieder.’ these in oneself immerses one ‘How O sacred head now head O sacred wounded (Down there in the valley), valley), the in there (Down (In the churchyard) churchyard) the (In Die schöne Müllerin schöne Die is subtly subtly is .

5 Lise Davidsen in recital Mon 10 Feb, Hall 6 Lise Davidsen in recital Mon 10 Feb, Hall the final word of the poem: ‘bestehn’ –‘endure’. ‘bestehn’ poem: word ofthe final the in destination optimistic to an song the pilots she and her gives composer the that rhythm rocking slightly the in tenderness There’s alighthearted appears. lover’s the when girlfriend resolved is all though by shadows, beset is but light for register. lower Love struggles the in playing hand left pianist’s to the melody the gives Brahms because perhaps that’s outset the at dark is mood the If empire. Austrian polyglot of the capital the in time spent already had he though 1863, in toVienna North move from Brahms’s reflecting perhaps song, folk German than rather Slav time this but music, traditional in Liebe’ ‘Von ewiger …’ Schubert since like it heard been had nothing composer ayoung in force intellectual and gift musical sheer ‘For to amasterpiece: close as regarded Sams Eric authority song great the that lyric ashort into packed are all variety rhythmic and counterpoint elegant ofopera, Hints part. piano the with directly duetting sometimes daughter with the voice sometimes imitating and and amother between dialogue this in art apparent conceals the simplicity composer’s An ofBrahms’s songs. early accomplished most 1850s, ofthe one is early the in composed ofcontrast By way heart. iciest the for?) melt would Ispinning am (What spinnen?’ ich soll ‘Wofür line the in feeling of rush sudden the more, yet is less work, later Brahms’s in often so As ofFate. thread the also is weaves she thread the for identity, own its find to struggles voice her while outfit wedding her prepares woman young the as wheel a spinning of echoes clear with simple, deceptively is part tobelongs the composer’s maturity. The piano 1886 in so and 107) (Op songs completed five ‘Mädchenlied’ German. are unmistakably roots musically, its but Tale’ im unten ‘re-created’ ‘Da undoubtedly is original and making something personal of it. ofthe traditions and shapes melodic to the true (A young girl’s song) is one of of girl’s one young is (A song) ‘Liebestreu’ (Eternal love) has its roots roots love) its has (Eternal (True love), Schiller’s drama and ofShakespeare translations remarkable Schlegel’s perhaps was it artists many German for But hall. concert the and house opera the for music into translated and other to the Byron’s, ofEurope end one from read were like writings, whose Walter was Scott, there Then Goethe. and Herder including Romantics, nevertheless seduced leading European but maintained, poet the as traditional than rather invented were which poems, MacPherson’s James with began It Highlands. the into forays orchestral Beethoven’s songs Scottish to Mendelssohn’s from composers, German many 19th-century of music the through way its threads Britain (1810–56) Schumann Robert admission to the asylum at Endenich where he he where Endenich at asylum to the admission his and Rhine the in himself to drown attempt his 1852, in before completed were They long not is among the composer’s compositions. last very Vinke von – by Gisbert German into French from translated and herself Stuart by Mary written Stuart Schumann’s ofScots. Queen Mary, and Ophelia platform, concert take to the regularly particular in heroines two Brahms via Strauss Richard to Schumann From Britain. with bond cultural than lyrical, the colour of the voice dark and and dark voice ofthe colour the lyrical, than rather declamatory is line earlier. vocal so The or adecade composed Schumann songs the from stylistically different very is song-cycle late This me’. simply, quite last, ‘Rescue the and away!’ going am ‘I is sings five ofthe first ofthe phrase opening the notes, Sams Eric As tether? ofits end the at almost amind recognise and here himself 1587.in Schumann hear we also should But execution her before prayer afinal and help for I to Elizabeth appeal to her throne, English the to succeed would who son ofher birth the and 1561 in to Scotland return her from biography queen’s Scottish the follow songs These 1856. in died – settings of five poems, supposedly supposedly poems, offive – settings Gedichte der KöniginGedichte Maria Maria Stuart Maria that sealed a a sealed that Ossian

of a Finnish text – he was himself a Swedish aSwedish himself was –he text of aFinnish Luonnotar Finnish as an autonomous language. literary (notably neighbours Russia), to establish helped Finnish fight for cultural independence from its the in akey text became later, which epic, this 14 1835. in years Republished published first poem epic Finnish great the in roots its has ofSibelius’s music Much early (1865–1957) Sibelius Jean him. abandoned not –has songs – condition human ofthe composer’s understanding this banished, to be love appears if songs, 1840s ofhis lyricism inventive the from away moved has Schumann if But ofdecoration. hints few and chords sombre with sparse, are equally parts piano The gaunt. interval singing. high-wire –real agility great demands and range alarge covers high, lies part vocal The platform. the off work 10-minute this kept have that singer to the presents it challenges sheer the It’s piano. and voice for piece the reworked Two Sibelius later years change a rage.’ into got almost and expressions disapproving very with beginning very the the whole composition. They followed it from at horrified were Two ofme front in ladies old … stand hardly Icould that exultant so was ‘I reaction: her back reported composer’s wife The 1913. September in Gloucester in Festival Choirs . full and soloist for atone-poem for inspiration the became she instead but opera, an for acharacter seemed –she universe the in alone floating Creation, the before existed who oceans ofthe mother the and ofnature – agoddess Kalevala so and inheritance Finnish his with deeply identifying from him stop didn’t that but speaker ! 20minutes . When he first encountered Luonnotar Luonnotar encountered first he . When Luonnotar was one of Sibelius’s first settings ofSibelius’s settings one was first in extremis was premiered at the Three Three the at premiered was in these five short short five these in The KalevalaThe Plus ça ça Plus The The , human feelings and relationships to the fore. to the relationships and feelings human with once, for seat aback takes nature and settings song earlier his in than freer is style The matter. subject in unconventional albeit songs, are love ofwhich all texts, Swedish five chose Symphony. Third the He and Concerto the as such works before just century, ofthe turn the his composed Sibelius betrayal. betrayal. of drama the conveys vividly part piano lush The gravestone. her on story sad the tell must her. mother Her deceived has He pale. returns she time third The lover’s her from red attentions. lips and hands her and are flushed cheeks her lover. her Twice meeting after home returns times we’re three who woman ofayoung tale the told ofSibelius’s ofall songs, best-known the one her lover’ – set the of number final the In happened. have not may or may that encounter ofaromantic memories withmelody properly longing suffused around In volume. full at instrument ofthe imitation passable than amore offering horn, of the climax to the rises part piano The castle! isolated asuitably is it –hopefully horn his blowing dawn at window his at standing aknight us ‘slight poem’, atmospheric but powerfully gives ‘Sunrise’ door. nursery the at are shadows there that suggests part piano of liten’,repetitions the line ‘Lasse, Lasse the but Lasse’‘Little less. no Hanslick Eduard critic by the piano the 1895, in at Brahms for sang accompanied lyrics, ofSibelius’s interpreter agifted Ekman, Ida that song the was This girl. ayoung tells astar kiss, afirst at weeps death while bliss own its sees Heaven romantic. lushly composer’s –is of the –afavourite Runeberg Ludvig by Johan poem title its befits As ‘Was it adream?’ it ‘Was ‘The girl returned from meeting , which the composer described as a a as described composer the , which , or, more simply ‘The Tryst’ – and –and Tryst’ , or, ‘The simply more hints at a lullaby with its its with alullaby at hints ‘The first kiss’ first ‘The 37 Op Songs, Five Sibelius weaves a silky weaves a silky Sibelius , which sets a a sets , which , at , at

7 Lise Davidsen in recital Mon 10 Feb, Hall 8 Lise Davidsen in recital Mon 10 Feb, Hall song in this group of six, just one day before before day one just ofsix, group this in song wrote Grieg beloved’s feet. his at laid poet the that roses the as transient love –as offading anguish the maps it as falls and rises that part avocal and dissonances are languid there Then garden. rose particular this in well not is all that suggest immediately part piano ofthe hand right the in chords Syncopated here. music Scandinavian oftraditional hint there’s and ofsix; group this in a not song Rosenzeit’ ‘Zur for poem the supplies who Goethe is It harmonies and folk-song idioms. Scandinavian distinctly recoloured with Romanticism ofGerman impulse lyric the with own, his made has he that voice musical the in speaks Grieg song this In passion. of thwarted pain the from us release can death only that – text German the guides that thought dark a It’s Geibel. von by Emanuel oftext choice Grieg’s behind impulse autobiographical the on speculate only can Once Nina. with relationship his in arupture after 1880s the in written songs ofsix ofaset one is thoughts) ‘Dereinst, Gedanke Mein’ manner.’ aheightened in to speak it allow to –indeed to speak text the to allow is My task intentions. intimate most poet’s tothe justice do to but music to compose not is goal principal my songs, Iwrite ‘When wanted. he what was biographer, American his told husband her as which, art to her expressivity remarkable a brought she that appears it But virtuosity. ofvocal smacked that anything eschewed she singer’scertainly and voice aconventional not was hers By accounts all Hagerup. Nina cousin first to his marriage his out born were compose he that ones The songwriter. anatural not was he admitted, freely he But, as generation. ofhis composer like any German lieder to take to writing expected been have might Grieg the at Leipzig Conservatory, education his completed had who amusician For (1843–1907) ‘Ein Traum’‘Ein (Time of Roses), the fifth fifth ofRoses), the (Time (A dream), the final (A dream), final the (One day, (One my did

is always unmistakable. unmistakable. always is voice his and ear the to catch something always is there poem, third-rate ofadistinctly setting a in Even be. can lieder Strauss’s lesser-known many of good how to discover come we have that singer. decade However, past the in it’sonly of type composer’s favourite this always were who by loved particularly platform, concert the on place aregular themselves ofStrauss’s dozen earned have two songs Some World War,Second the was ofthe 1948 in written aftermath the in work, significant last his and 49 lieder some composed of18 1882 age in already the had at he school left he time By the ease. enviable with songs wrote Strauss Richard life long his Throughout (1864–1949) Strauss Richard predecessor. ofits that than much-loved song is altogether more settled ofthis world harmonic the while anticipation, ofromantic breaths drawn quickly are the –these anxiety with flutters longer no voice The oflove. excitement by the but despair by not possessed asoul signal part piano the in arpeggios rolling the so true, comes happily that adream it’s once For different. more be couldn’t mood the and ‘Zur Rosenzeit’ yearning quality that is ever-present in Strauss. in ever-present is that quality yearning lovers two withmeeting is that between suffused lieder, ‘Morgen’.best-loved a too here And composer’s ofthe one in recur would that trait aStraussian aconversation, begun already had it if as song the into slips voice the prelude piano abrief After masterpiece. ayouthful and song ‘Zueignung’ ‘Allerseelen’ thanked) is pure theatre. (Be Dank’ ‘Habe phrase final the on crescendo The part. piano ofthe textures orchestral almost rich, the as well as are present, trademark his Already the arching melodies that became assurance. complete its at marvel only we can And songs. ofStrauss’s one published was first (All Souls’ Day) is another early early another is Souls’ Day) (All (Dedication), composed in 1885, . Last Four

human pain in the second verse, all is well by by well is all verse, second the in pain human there’s If pace. aslower of at ahint child small the lulls gently soloist the as part, piano the in simple, conventional with deceptively harmonies It’s Strauss. Richard in best the out to bring seemed always who apoet Dehmel, Richard ‘Wiegenlied’ prelude. piano the in we heard theme heady the reprises joy oflove,and Strauss pain the on reflects poet the as skill consummate with Then, life. in late heart his into love stole that reveals poet the when human more something to turns garden? Horticulture asummer in late so flower dahlia yellow bright this does Why accompaniment. piano tripping with style the begins in soloist an almost conversational prelude, the in ofcolour blaze orchestral-like man’s an 1882–3. from After too, dating song between ‘Malven’ the and between relationship 1985. aclear is There January until not was performance first its and to herself ohne Frau Die Schatten in Empress ofthe part the wrote he whom for opera his in title-role the created had who Jeritza, Maria soprano the for the completed had he 1948, after November in weeks eight just written was It composition. final his indeed and song last ‘Malven’ song. ofthe bars closing the in registers uppermost the into quietly creeps piano the as asleep surely is child The third. the assurance. assurance. such with composing still 85-year-old ofan awe in stand only can one and own its entirely is that world amusical create soloist and pianist Schlafengehen’. But ‘Beim song third the in solo violin the mirrors interlude piano extended the ‘Die Georgine’ proclaimed state of mind, Strauss throws an an throws ofmind, Strauss state proclaimed their mirroring part piano there’s the in serenity Yet lovers. his if for arelease as death sees text Dehmel’s Romanticism, Late flavoured that ideas the with Infused poem. Dehmel ‘Befreit’ (Released) is another setting of a ofa setting another is (Released) (Hollyhocks) was ’s (Cradle Song) is a setting of of asetting is Song) (Cradle (The dahlia) is a young ayoung is dahlia) (The Four Last Songs Last Four . Jeritza kept the song song the kept . Jeritza auf Naxos Ariadne Four Last Songs Songs Last Four , as a gift agift , as – and and ‘Very complex, very ‘Very complex, very feminine, a little perverse, perverse, little feminine, a with her husband. This is nothing less than a a than less nothing is This husband. her with recitals at it 1894, sing regularly would she and September in Pauline Ahna, von soprano the wife, his for present awedding as wrote Strauss ‘Cäcilie’ thing. bittersweet a is happiness This verses. three ofthe each ends which ‘O Glück’ phrase the on emphasis ironic Programme note by Christopher Cook by Christopher note Programme to acrescendo. rises song the live) as would (you word ‘lebtest’ the on enunciation immaculate breath controlutmost, and demanding perfect to the singer ofthe art the taxes that phrase afinal creates Strauss togetherness. marital of celebration to arapturous we are treated minor, the in finally are explored and marriage ofa key, aspects major complex more the then joy oflove the in unfettered the is there First verses. three in drama three-act miniature like herself, minute at every been a moment before.’ a been different from how she had never coquettish, little a Richard Strauss attempting to sum up his to sum up his attempting Strauss Richard wife, the great soprano Pauline de soprano great the wife, (Cecily) was one of four songs that that songs offour one was (Cecily)

9 Lise Davidsen in recital Mon 10 Feb, Hall 10 Lise Davidsen in recital Mon 10 Feb, Hall Wie flink gehn die Rädchen! die gehn flink Wie Da lachen die Dorfbub’n, Da singen die Mädchen, Spinnstub’n, der in Nacht die Auf 5 Lieder, Op 107 –No 5, Traditional Besser mag gehn. Und iwünsch,dassdirsanderswo Dank idirschön, Für dieZeit,wo dug’liebtmihast, Halt weiter gehn. Und duwillstnitverstehn, mussi Dass idilieb, Und wenn idirszehnmalsag, Is auchwohl dabei. Und abisseleFalschheit Sprichst allweil von Treu, Sprichst allweil von Liebe, I habdisolieb. Und ikann dirsnetsagen, Läufts Wasser sotrüb, Da unten imTale Da unten imTale 49 DeutscheVolkslieder, WoO33 –No 6, Detlev von Liliencron (1844–1909) Genesen. still: taute Gräbern allen Auf – schlummerten Särge die sturmestot Wie Gewesen. Wort: das fror Gräbern allen Auf regenschwer, und TagDer sturmbewegt ging Die Namen überwachsen, kaum zu lesen. alt, Kränze die Kreuz, und Stein Verwittert gewesen. Grab vergessnem manch waran Ich sturmbewegt, und TagDer regenschwer ging Kirchhofe 5 Lieder, Op 105 –No 4,Auf dem textsSongs: translations and Mädchenlied and you don’t – understand Ilove you,that times you ten Itell if And too. it with goes offalsehood abit and ofconstancy, only speak You oflove, only speak Ilove you. much how you tell Icannot and murkily, so runs water the valley the in there Down Down there inthevalley Released. proclaimed: grave each on dew silent – storm tothe dead slumbered, coffins the How word: froze Deceased. grave the each on rains, and storms with heavy was day The read. to be overgrown, scarcely names the wreaths, faded crosses, and stones Weathered grave. by many aforgotten stood I had storms, and rain with heavy was day The In thechurchyard how swiftly the wheels go round! go wheels the swiftly how are laughing, lads village the are girls singing, the spinning-room, the in night At A young girl’ssong better. fare you might elsewhere that wish and you thanks, I give me, you loved that time the For my on way. to go have I shall

Redet so viel und so mancherlei: so und viel so Redet sieFührt am Weidengebüsche vorbei, Haus, nach Geliebten der Geleit das Gibt heraus, Bursche der Dorfe dem Kommt aus auch. nun schweiget sie Lerche die und Ja, Rauch, noch nirgend und Licht noch Nirgend Welt. die schweiget nun es, ist schon Abend Wald in dunkel Feld! in wie Dunkel, und Liebe 1, –No 43 Op Von ewiger 4 Gesänge, ReinickRobert (1805–52) Treu’,Meine aus. ihn hält die Wind, im auch Fels der O Mutter, splittert und hinaus.’ damit Wind den In Treu’, die ‘Und Treu’, die und ’s Wort, ein warnur geschwind. so nicht Treue Lieb’ bricht, sie man wenn stirbt, Blum’ die auch Ob Kind!’ ab, sie mein ab, sie brich Brich trägst, Lieb’, die ‘Und Herzen im du die Höh. die in kommt stets Leid Mein Grund Meeres des auf bleibt wohl Stein Ein See!’ tiefe die in See, die In Kind, mein Leid, dein Oversenk ‘O versenk, 6 Lieder, Op 3–No1, (1830–1914)Paul Heyse nicht! es weiss Ich spinnen? Wofür ich soll – Gesicht übers Mir Die Tränen rinnen Wem ich’s soll klagen? ist, zumut mir bang Wie fragen; mir nach Will ist, gut mir der Kein Mensch, Ein Hochzeitgeläut. es gibt so lange, Nicht freut. sich Liebste der Dass Brautschatz, am Jedes Spinnt Schnell wie wir früher vereiniget sind. vereiniget früher wir wie Schnell geschwind, so getrennt Werde Liebe die mich, um andern von Schmach du Leidest ‘Leidest du Schmach und betrübest du dich, Liebestreu True love know! I don’t for? Ispinning am what – my cheeks down go coursing The tears my sorrow? Itell shall to whom Ifeel, anxious how me; after ask will me for cares who man No sound. wedding-bells before long be won’t It lover. her to please trousseau her for spins girl Each as swiftly as once we two were plighted. were we two once as swiftly as swiftly, as severed love be our let Then ofme, think others what for shame shame, suffer and sorrow you suffer ‘If many things: ofso and much so talking willow-copse, the past her leads He home, his sweetheart escorting alad, comes there village ofthe Out too. now silent is lark the even and smoke, nowhere and alight Nowhere silent. is already, world the and Evening field! and forest in dark how Dark, Eternal love endure. love will my true by wind cracked O mother, be rock though winds.’ to the it cast aword,‘True but love was love, true swift. so not love dies true picked when die flower the though And it, child.’ it, pluck pluck heart, your in you bear love which ‘The up. ever floats my sorrow sea, ofthe bed the on stay may A stone sea.’ deep the in sea, the in sorrow, your Osink ‘O sink, child,

11 Lise Davidsen in recital Mon 10 Feb, Hall 12 Lise Davidsen in recital Mon 10 Feb, Hall Bangen, neues mich Schwester, teurer fasst Dann, Und kündet, Euch zu sehen, mein Verlangen, wählt, Boten zum Blatt dies Herz mein wenn Und gezählt. ruhelos Stunden die ich Als klangen, Stimmen Hoffnung und Furcht der dass So gefangen, Sinn den mir ewig Hält quält, und freut mich der Gedanke, ein Nur No Ehre, Amen. und Preis Ruhm und zu dir Sei Namen, seinem in geschieht was alles, Und Königreich. diesem in noch herrschen Lang Und sei’s dein Will’, zugleich sein lass Geschlecht Gebor’nen. hier des Geburt die Beschütze Dornen, mit gekrönt sie den Christ, Jesu Herr Sohnes ihres Geburt der Nach 2, No Ade! sein! zu eingedenk andern Des dir, sage der Land, fröhlich Mein dein, TeilEin bleibet immer für mir: von nur Hälfte die trägt’s Doch weit! so Glück vom Boot das trennt Mich Zeit. schöne du Land, du Ade, Du meiner Kindheit Pflegerin! fand, Heimat Wo liebste die ich Ade, mein fröhlich Frankenland, dahin! zieh Ich Frankreich von 1,No Abschied Op der Königin Gedichte Stuart, Maria Schumann Robert von Fallersleben (1798–1874) Traditional, translated by August Heinrich Hoffmann bestehn!’ ewig muss Liebe Unsere zergehn, können sie Stahl, und Eisen um? sie wandelt wer Liebe, Unsere um, sie schmiedet man Stahl, und Eisen mehr. noch fester ist Liebe Unsere sehr, gar Eisen das und Stahl der ist Fest nicht! sich trennet sie Liebe ‘Unsere Spricht das Mägdelein, Mägdelein spricht: sind.’ vereiniget früher wir wie Schnell mitScheide Regen und scheide mit Wind, 3, An die Königin Elisabeth 135

protect this new-born boy, new-born this protect thorns, with crowned they whom Christ, Jesus Lord son her of birth the After Farewell! self! other ofthat memory the to you recalling land, my happy yours, ever for be will part one Yet ofme: half but takes it joy! from away far me bears ship the time, Ohappy Oland, Farewell, ofmy childhood! guardian you the homeland, loveliest the Ifound where France, myFarewell, happy away! going I am Farewell to France ever!’ for endure love must our down, melted be can steel and Iron but our love, who shall change it? reforged, be both can steel and Iron still: stronger even love is our iron, is so and strong, is Steel severed! be ‘Our love cannot says: girl the speaks, girl The plighted.’ were we two once as swiftly as wind, in depart and rain in depart us Let then, dear sister, a new anguish seizes me, sister, seizes dear then, anguish anew you, to see Ilong how revealing messenger, as letter this chooses my heart when And hours. the Icount sleepless when resound, hope and offear voices the that so and dominates my mind, me grieves and gladdens alone thought One To Queen Elizabeth honour, and toThy praise glory, be Amen. name his in done is that all let And realm. this in rule long race his let Thy will, be it and, if

Jean Sibelius Jean von Vincke (1813–92)Gisbert (1542–87); by translation Stuart German Mary mich! Du rette Und Erhör’, ich beschwöre, verzagend, Staube Im In Klagen, dir klagend, Ersehne ich Dich; Bedrängnis schlimmer In Gefängnis, harten Im mich! Du rette Nun Geliebter,O Jesu, Dich! auf hoffe Ich Gebieter, mein O Gott, 5,No Gebet Teil meinen mir ew’gen am Frieden! Erfleht hienieden, werd’ gestrafet schwer ich weil Und bess’re mir wünscht So Tage zurück, nicht bliebe. Werk vollenden zu mir Kein gutes Glück und Kraft ohne dass glaubt, und Erwägt Liebe, in gedenkt mein ihr die Freunde, Ihr Streit. und Hass Grabe zu mir mit geht Bald Des Schmerzes Übermass wird mich verzehren; Ehren, Hoheit der abgewandt ist Herz Mein Ihr Feinde, von lasst eurem Neid: Mir blieb allein die Todesfreudigkeit. entbehren, nicht Schatten mein soll Leiden Nur Begehren, irdisches für erstarb Herz Mein zugemess’ne Zeit? noch mir die Was nützt Welt der von Abschied 4, No vertraut. wir dem oft, Segel das Zerreisst Walten Vor euch nicht, Schwester. Doch des Schicksals Sorgen, und Furcht von bewegt ich auch bin So HimmelsDes heit’res nachtumgraut. Antlitz WogenVom festgehalten, Kampf der und Sturm geborgen, fast Kahn Hafen im den seh’ Ich fehlt. beweisen, zu es Weil Macht, die ihm Avoroilla autioilla. Aina ollessansa, yksin elämätään, Ouostui korea, Kave Luonnotar tyttö, ilman impi, Olipa Luonnotar, Op 70

Farewell to the world the to Farewell we trust. which in sail the lacerates often ofyou,not offate force my the sister. But fear, and by cares beset Ilikewise am So by night. heaven’sand blackened face serene waves, warring and storm by the back held harbour, the in hidden half boat the I see to prove it. power the lacks letter the because excess of anguish will devour me, devour will ofanguish excess abjures all honour andmy nobility, heart me, Oenemies: envying Cease remains. alone joy ofdeath the sorrow, but all from severed is my spirit desires, to earthly dead is My heart me? allotted still time the is use What in the vast voids. vast the in alone being of always life, ofher strangeness the sensed She a slender Nature-Spirit, beautiful. air, ofthe agirl amaiden, was There Luonnotar Translations © Richard Stokes me! rescue and Thee, Iimplore hearken, dust, the in despairing toThee, Icry lamenting Thee; for I long in dire affliction prison, myIn harsh me! rescue O beloved Jesus, Thee! in my trust I put God, O Lord Prayer mine! be might peace ofeternal ashare that pray earth, on here punished sorely I’ve been because and days, ofhappier return the for wish not do So achieve. Ican good nothing is there fortune power and believe or consider without that love, with me remember will who O friends, me. with buried be soon will schism and hatred

13 Lise Davidsen in recital Mon 10 Feb, Hall 14 Lise Davidsen in recital Mon 10 Feb, Hall interval taivaalle. tähiksi Ne Tähiksi taivaalle, Mi kirjavaista, Kuuksi kumottamahan, valkeaista, Yläpuoli taivahaksi, Yläiseksi Munasen yläinen puoli kaunoisiksi. munat Muuttuivat Katkieli kappaleiksi. vetehen, vierähti Pesä jäsenehensä. Järkytti Impti tuntevi tulistuvaksi. Alkoi hautoa. Siihen pesänsä, laativi sorsa polvea lainehesta,Nosti emonen, veen silloin Niin Aalto viepi asuinsiani.’ Tuuli kaatavi, tuuli kaatavi, asuinsiani, Aalloillen ‘Teenkö tuulehen tupani, Ei! Ei! Ei! sioa. löyäEi pesän Lenti luotehet, etelät, rannat, ilman kaikki Lenti Tuli sotka,lintu, suora Käy tänne kutsuttaissa!’ Oi, Ukko, ylijumala! elää. impenä Ilman Parempi ollut olisi päiviäni! ‘Voi, poloinen, Meren kuohuille kohotti. Tuli puuska, tuulen suuri rannat. ilman kaikki Uipi Uipi luotehet, etelät, emona, veen impi Vieri Vuotta sataa seitsemän ajeli, impeä Aalto Laskeusi lainehille, 20minutes The eggs began to change, to grow beautiful. to change, began eggs The broke pieces. into It water. the into tumbled nest the limb: her jerked She heat. growing the felt maiden The to brood. began She nest. her made duck the There waves. ofthe out knee her raised water ofthe mother the then, So my dwelling!’ ruin will a wave it, upset will it, wind the upset will wind The waves? the on my dwelling wind, the on Imake my home ‘Shall No! No! No! nest. its for places find not did It south. to the north-west, to the flew It air. ofthe shores the all around flew It bird. aplain aduck, came There you!’ Isummon when here Come god! Ukko,Oh, highest air. ofthe maiden the as to live better been have would It my days! ‘Oh, miserable, to asurge. sea the raised it ofwind, gust agreat came There horizons. airy the all around swam she south, to the north-west, to the swam She and round. water, ofthe round mother turned maiden, the years hundred seven for drovea wave maiden; the waves, to the down descended, She permission from DG from permission kind with reprinted Hepokoski; Translation ©James heaven. in stars the became They heaven. in stars the became part mottled the in was which that moon; gleaming the became egg-white ofthe half upper The sky, the above. up became egg’sThe half upper

Trampar trilja. golvets larm, stridens efter Lyssnar Riddarn står vid fönsterkärm, grunden. röda den Mot Tecka segervist så dig kvit frostvit och gren Snöig gryningsstunden. är Det land, och sjö tysta Ligga himlens purpurbrand Under No Zachris Topelius (1818–98) liten!Lasse, Lasse bäst, hemma men bra Borta liten!Lasse, Lasse mest, nu du var trives Säg, liten!Lasse, Lasse Ingen orm dig bita få, liten!Lasse, Lasse går, dig med angel Guds När liten!Lasse, Lasse harkär, Gud som Lycklig den liten!Lasse, Lasse Många mänskor leva där, liten!Lasse, Lasse överallt, råder Gud Men liten!Lasse, Lasse kallt, är det och hett är Det liten!Lasse, Lasse tror, nånsin du än Större liten!Lasse, Lasse stor, så är Världen stor, så liten 2Lasse No (1804–77) Runeberg Ludvig Johan gråter. och bort ögat vänder döden Blott åter; speglad sällhet egen sin ser Och änglaskara, ljusets På blickar jorden svara: hördes dotter blyga himlens Och skänkes? älskling en åt kyssen första När tänkes, ihimlen vad aftonstjärna, Säg, tärnan: henne frågte skymning Från lundens På silvermolnets kant aftonstjärnan, satt kyssen första 1Den No 37 Op 5 Songs, Sibelius Jean 3 Soluppgäng 3 Soluppgäng Little Lasse Translation © Lynn Steele weeps.’ and away eyes his turns death only back; reflected bliss own their see and earth toward the look oflight angels ‘The answer: heaven’s to And heard was shy daughter lover?’ toyour kiss first the you give when heaven ‘Tell star,in me, think evening they do what her: asked grove maiden the shadowy the From mist. ofsilver rim the on sat star evening The kiss first The The world is so big, so big, so big, so is world The pacing the floor. ofbattle, sound the for listening window by the stands knight The backdrop. red the from prominently out stand twig frost-white and branch Snow-covered ofdawn. time the is it land; lake and lie silently Beneath heaven’s purple fire Sunrise Lasse! Lasse, little best, is home but to travel, good It’s Lasse! Lasse, little happy,Say, are you most where Lasse! Lasse, little you, bite can snake no Lasse, Lasse, little you, with walks God’s angel When Lasse! Lasse, little loves, God whom he Happy Lasse! Lasse, little there, live people Many Lasse! Lasse, little everywhere, us counsels God But Lasse! Lasse, little cold, is it and hot is It Lasse! Lasse, little imagine, ever you can then Bigger Lasse! Lasse, little

15 Lise Davidsen in recital Mon 10 Feb, Hall 16 Lise Davidsen in recital Mon 10 Feb, Hall Och på korset rista, som jag säger: jag som rista, korset på Och däröver, kors ett ställ och där mig Göm grav, en ‘Red sade: omoder! Flickan ‘Varav dina blekna kinder, flicka?’ sade: kinder. bleka Kom Modern med möte, älsklings sin från kom hon Åter Och med målat saften mina läppar.’ Flickan sade: ‘Jag har ätit hallon läppar, dina ‘Varav rodna flicka?’ sade: läppar. röda Kom Modern med möte, älsklings sin från kom hon Åter händer.’ mina stungit törnen på Och rosor ‘Jag sade: plockat Flickan har ‘Varav rodna dina händer, flicka?’ Kom med röda händer. sade: Modern möte, älsklings sin kom ifrån Flickan möte älsklings sin kom ifrån 5 Flickan No Josef Julius Wecksell (1838–1907) dröm! bästa var din Det bröst, iditt minne dess djupt Göm ström: tårars bittra Vid röst en hör jag natt mången Men För nya blommors mängd. Vars fägring vissnar hastigt bort vårgrön ängd, en Uti kort så liv sippans lik dröm En Var dröm? en allt, var allt avskedstår, en blänkt. minns som Jag öm; och blyg så blick En skänkt, dig av törnros en minns Jag än. darrar strängen Då sång, tystnad en som det minns Jag vän? hjärtas var ditt Jag gång en ljuvt Var dröm, att en det 4 Var dröm? No en det Tor Hedberg (1862–1931) stiger. sakta Solen Branden slockner, gyllenröd, Tonen spröd, klingar, och klar tiger. som nejd Over Igryningsstund, vilt Bläser mun, till horn sätter Riddarn vilja. hans mjukt Böjer brand, pannas hans Kyler milt hand snövit och smal en Men came with her hands all red. Said her mother: her Said red. all hands her with came lover, her meeting from returned girl The The girl returned from meeting her lover dream! best your was it heart, your in deep memory this hide tears: ofmy bitter flood the through avoice Ihear many anight But flowers. acrowd ofnew before away soon withers whose beauty springtime, in meadow agreen in ofacowslip life the as brief as A dream Was all, adream? all it we parted. when tear asparkling I remember tender; shy and so a glance you tossed, arose I remember echo. still strains the of which silent, fallen asong as it I remember love? true heart’s your I was time, awonderful in once, Was that adream it Was adream? it Translations © John Atkinson rises. slowly sun the as red, golden dies, slowly fire the fragile; and clear rings note The land. silent over the dawn, the at fiercely blows and mouth, to his horn his puts knight The tenderly changing his resolve. brow, hot his cools gently hand snow-white asmall, But and on the cross write as I tell you: Itell as write cross the on and above, across set and there me Hide ‘Oh mother, girl: the me! for agrave dig Said girl?’ pale, so cheeks your made has ‘What mother: her Said pale. all cheeks her with came lover, her meeting from came she Again juice.’ the with my lips stained and raspberries eating was ‘I girl: the Said red, so girl?’ lips your made has ‘What mother: her Said red. all lips her with came lover, her meeting from came she Again thorns.’ the on my hands pricked and roses picking was ‘I girl: the Said red, so girl?’ hands your made has ‘What Alle Blüten, alle Früchte alle Blüten, Alle ging; Garten meinem zu Früh lauernd Knöspchen erste das Auf hing, dir an Engel, ich, Als trauernd, ich TageJener denk’ bricht! Seele die Gram der Dem Hoffnungslosen, dem ach! Blühet, nicht; euch trug Liebe Meine Ihr verblühet, süsse Rosen, 5, Rosenzeit No Zur Emanuel von (1815–84) Geibel ruhig sein. Wirst Und ohne Pein Wunden ohne Dann Wird’s gegeben. dir Wenn entschwunden es Nicht gefunden, hast Was Leben im du ruhig sein. Wirst Und ohne Pein Liebe ohne Dort gut; du schläfst Da Erden kühler In werden: nicht still Dich Liebesglut Lässt ruhig sein. Wirst Gedanke mein Dereinst, Gedanke Mein Dereinst, 2, –No 6 Lieder, 48 Op Edvard Grieg Johan Ludvig Runeberg Ty de bleknat genom älskarns otro.’ kinder, bleka med hem kom hon Senast läppar.Ty älskarns under rodnat de läppar, röda med hem kom hon gång En händer.Ty älskarns mellan rodnat de händer, röda med hem kom hon gång En Hoffnung in dem Herzen schlug. Herzen dem in Hoffnung Und vor deinem Angesichte trug Füssen deinen zu Noch You rest. at be shall my thoughts, day, One day,One my thoughts Translations © Lynn Steele lover’s her at faithlessness.’ pale turned had they pale; all cheeks her with home came she time last The lover’s her lips. beneath red turned had they red; all lips her with home came she Once lover’s her hands. between red turned had they red; all hands her with home came she Once when you looked on me. on you looked when my in heart beating hope with feet, very your at fruits the all blossoms, the all Laid to my garden; early went bud, little first the for waiting and you, on my heart set I,my angel, when days, ofthose Ithink Sorrowfully grief! with breaks now soul whose ofhope, bereft one for ah! you bloom you; wear my not love did You roses, sweet fade, Time of roses rest. at be you shall pain, from free and torment from free Then, ended. is life when you granted be will infind life not you did What rest. at be you shall pain without and lovethere without earth; cool in well sleep you shall peace, you no gives love’sThough ardour

17 Lise Davidsen in recital Mon 10 Feb, Hall 18 Lise Davidsen in recital Mon 10 Feb, Hall Habe Dank. an’s heilig sank, dir Heilig, Herz gewesen, nie ich was ich, Bis Bösen, die darin beschworst Und Habe Dank. Trank, den segnetest du Und denHoch Amethysten-Becher, Zecher, Freiheit der ich, hielt Einst Habe Dank. krank, Herzen die macht Liebe quäle, mich dir von fern ich Dass Seele, teure es, weisst du Ja, 8 Lieder, 10 Op 1, –No Zueignung Strauss Richard (1819–92) Bodenstedt Friedrich Traum ward der Wirklichkeit! zur Dort Traum, zum Wirklichkeit ward die Dort – Zeit alle durch mir in lebst Du Waldesraum! O frühlingsgrüner nimmermehr! nun dich lasse Und lang dich hielt ich fest, dich hielt Ich – her Dorfe vom erscholl Geläut sprang, Knospe die schwoll, Waldbach Der Frühlingszeit: warmen warzur Es Waldesraum, grünen waram Es – Wirklichkeit in sich es Begab Traum der einst als noch schöner Und Versunken in Seligkeit. ganz Wonne voll, ganzer waren Wir – Geläut scholl Dorfe dem aus Fern schwoll, Waldbach der sprang, Knospe Die Frühlingszeit: warmen warzur Es Waldesraum, grünen waram Es liebteMich eine blonde Maid; Traum: einschöner träumteMir einst Traum Ein 6, No Johann Wolfgang von (1749–1832) Goethe bricht! Seele die Gram der Dem Hoffnungslosen, dem ach! Blühet, nicht; euch trug Liebe Meine Ihr verblühet, süsse Rosen, Dedication reality! became dream there adream, became reality there – You evermore for me in live shall spring! with green so glade O woodland you go! let never shall now and you long, Iheld you fast, I held – ofbells sound the came village the from bloomed, buds the swelled, stream forest The springtime: warm the in was it glade, woodland green the in was it reality, in happened it dream, the than yet beautiful more And happiness. in lost so ofbliss, full we so were – ofbells sound the came village distant the from swelled, stream forest the bloomed, buds The springtime: warm the in was it glade, woodland green the in was it a blonde maiden loved me, dream: abeautiful dreamed I once A dream grief! with breaks now soul whose ofhope, bereft one for ah! you bloom you; wear my not love did You roses, sweet fade, be thanked. holy, sankholyuponyour heart, till I,asnever before, And you banishedtheevil spirits, be thanked. and you blessedthatdraught, the amethyst cupaloft, Once, revelling infreedom, Iheld be thanked. love makes heartssick, that I’mintorment far from you; Yes, dearsoul,you know

Du feuergelbe Träumerin, feuergelbe Du brächte, Frühling den Wenn jetzt dir ich Tage diese du hin? lebst Wie Nächte? diese kalt dir zu nicht Sind ausgewählt. Schlummer zum Ihr Bett Biene die sich hat honigsatt Und erzählt, ist Rosenmärchen Das Georgine? erst, Warum spät so Da dein Seelchen sich der Welt der erschloss. sich Seelchen dein Da Von dem hellen Blütenmorgen, Von Tage, spross; dem Blume die da Träume, Sorgen, meiner träume, Knospe singt. Mutter Von deine das Lied, dem beben da, die schimmern Blüten bringt. Blumen die Von der Himmel, dem Träume, träume, Leben, süsses du mein 5 Lieder, 41 Op 1, –No Wiegenlied vonHermann Gilm (1812–64) Schmerz. derselbe und Entzücken dasselbe ist es früh, ob spät, Ob Herz; ins mir Liebe die sich Stahl dir, wie spät Und Feuergelbe, du gekannt; nicht Frühling den du Wie Lebens dieses Maitag den hab’ Ich So reich’ mir schwesterlich die Hand, vergebens? ich Träumerin,Wie, lock’ nicht. auch Einzige stolze Die Letzte, die nicht du wärst dann ach! Doch dich mit Junilicht,Begösse benetzte, dich Wenn Maitau mit ich No Mai. im einst Wie habe, wieder dich ich dass Herz, Komm mein am Toten den Tag ja Ein ist frei, Jahr im Grabe, jedem auf heut duftet und blüht Es Mai. im einst Wie Blicke, süssen deiner einen nur mir Gib man’s wenn Und einerlei, es ist sieht, mir drücke, heimlich sie ich dass Hand, die mir Gib Mai. im einst Wie reden, Liebe der von wieder uns lass Und herbei, trag Astern roten letzten Die Reseden, duftenden die Tisch den auf Stell No 4, Die Georgine 8, Allerseelen

The dahlia as onceinMay. come to my heartandsobemineagain, one day each year isdevoted to thedead; Each grave today hasflowers andisfragrant, as onceinMay. give mebutoneof your sweet glances and ifpeoplesee,Idonot care, Give meyour handto press insecret, as onceinMay. and letustalk of love again bring inthelastred asters, Set onthetable thefragrant mignonettes, All Souls’ Day when your soulopenedto theworld. of thatmorningbrightwithblossom, of theday theflower unfolded; Dream, dream, budbornof my anxiety, from thesongyour mother sings. blossoms shimmerthere, they live of heaven thatbringstheflowers; Dream, dream, my sweet, my life, Cradle song enchantment andthesamepain. late orearly, itisthesame love stole late into my heart, And aswithyou, fiery yellow flower, just asyou’ve not known thespring. I’ve not known May-time inthislife, Then give meyour sisterly hand, What, Odreamer, doItempt you invain? nor proud to beunique. but ah!you would not bethenthelast, drenched you inthelightof June, What ifIwatered you withMay dew, you fiery yellow dreamer? What ifIbrought you springtimenow, How doyou survive thesedays? Are thesenightsnot too coldfor you? has chosenwhere to lay itshead. and thehoney-sated bee The roses have told theirtale Why, dahlia,appearsolate?

19 Lise Davidsen in recital Mon 10 Feb, Hall 20 Lise Davidsen in recital Mon 10 Feb, Hall Richard Dehmel O Glück! weinen; mir mit und segnen mich Und Traum im noch nur mir du erscheinen wirst Dann Welt der zurück! dich ich gab’ So Wir haben einander befreit vom Leide, wissen’s wir sein, bald beide, sehr wird Es O Glück! geben; wieder ihnen es will Ich Leben, ganzes dein mir schenktest Du Lässt unsern Kindern mich zurück. lassen, Seele deine mir wirst Und fassen Hände meine heiss du wirst Dann O Glück! Welt zur geweitet; dir sie habe Ich bereitet, sie Wände, hast vier du lieben Unsre zurück. Kuss und Blick dir ich Geb’ Reise zur wie und lächeln du Wirst leise Leise, weinen. nicht wirst Du Befreit 4, 5 Lieder, 39 –No Op Ltd Publishers Music &Hawkes Boosey of permission (1904–98); by reproduced Wehrli-Knobel Betty Sommersgesind … Blüten,Zärtliche Leise, leise im Wind, verwehen dann Und Licht. Himmlischen gold’nen dem Unter Blasses Gesicht verweintes, ein Wie Des Purpurs Glut, und ohne Duftlos Malven empor, Garten im Ragen Zinienflor, Phlox, Rosen, Aus TrV297Malven, Richard Dehmel (1863–1920) Diese Welt zum Himmel mir gemacht. Liebe seiner Blume die Da Nacht, heilgen der von Von stillen, der Träume, träume, Liebe, meiner Blüte You gave your wholelife to me, leave me to care for ourchildren. and you willleave meyour soul, Then ardently you willseizemy hands O happiness! world – I have widenedthesefour walls for you into a You have cared for theroom we love! I shallreturn your gazeandkiss. you willsmile;andasbefore ajourney You willnot weep. Gently, gently Released these servants of summer… these tender blooms, gently, gentlyonthewind, And thenthey driftaway light of heaven. beneath thegolden pallid face like atear-stained, or crimsonfire, without scent up inthegarden, hollyhocks soar flowering zinnia, From amongroses, phlox, Hollyhocks made thisworld my heaven. when theflower of hislove of thesilent,of thesacred night, Dream, dream, blossomof my love, O happiness! and you willblessmeandweep withme– Then you’ll appearto meonlyindreams, so Ireturned you to theworld. we have released each other from suffering, It willbevery soon,we both know it, O happiness! I shallgive itback to them–

Heinrich Hart (1855–1906) Hart Heinrich mir! mit lebtest Du Wenn wüsstest, es du Höhn, Zu seligen Zu schweben empor, lichtgetragen, Weltschaffendem Atem, Gottheit der von umhaucht heisst, Was leben Wenn wüsstest, es du mir. zu kämest Du Wenn wüsstest, es du Seele, kampfmüde die Mundes Milden tröstet niemand da Sturm, vom Umschauert Nächten, einsamen in heisst Was bangen Wenn wüsstest, es du Herz! dein neigtest Du Wenn wüsstest, es du Und kosend und plaudernd, inAug Auge, Geliebten, Von der mit Ruhen und Wandern Was träumen heisst von brennenden Küssen, Wenn wüsstest, es du Cäcilie 2, 4 Lieder, 27 –No Op what itisto live enveloped inGod’s If you knew you would cometo me, if you knew, to comfort thestruggle-weary soul– in thefrightening storm, withnosoft voice what itisto worry onlonelynights, If you knew your heartwould turnto me. if you knew, and caressing andtalking – gazing ateach other of walking andresting withone’slove, what itisto dream of burningkisses, If you knew Cecily Translations © Richard Stokes you would live withme. if you knew, to blessedheights– to soarupwards, borneonlight world-creating breath,

21 Lise Davidsen in recital Mon 10 Feb, Hall 22 Lise Davidsen in recital Mon 10 Feb, Hall

Ray Burmiston/Decca Classics Oslo, Copenhagen and Bergen. in and Barbican the at here recitals solo and Wunderhorn Knaben perfido! Walküre Vasily ( and Petrenko;Noseda Sieglinde Beethoven’s Gianandrea 9 with No Symphony Songs Last Four ( Orford Ellen include appearances concert Further House. Opera Zurich at season last ( ofElisabeth role the reprising as well as cycle), ( Sieglinde as summer the in Bayreuth to returns Royal and the Opera; and Montréal ( Leonore as debut role York; New Opera, her Metropolitan the with debut company her makes she season This released year last to great critical plaudits. Wagner, and Strauss ofRichard was Decca, for album debut Her House. Opera Zurich and Proms BBC Hall, Wigmore , State and Bavarian Garden, Covent House, Royal the Opera Provence, Glyndebourne, Aix-en- Bayreuth, at debuts acclaimed with by storm, world music classical taken the sopranoNorwegian Lise Davidsen has 2015, in competitions Sonja Queen the and Since winning Plácido Domingo’s Operalia Davidsen Lise About the performers Peter Grimes Tannhäuser ) with Fabio Luisi; Beethoven’s Fabio ) with with Vladimir Jurowski; Mahler’s Jurowski; Vladimir with ), which she sang to great acclaim acclaim to great sang she which ), ) at the Enescu Festival; Strauss’s Festival; Enescu the ) at with Orchestre de , soprano with Esa-Pekka Salonen; Salonen; Esa-Pekka with Fidelio ) with Opéra de de Opéra ) with The Ring The Ah, Ah, Die Des Des

‘Not just avoice. The voice.’The Philharmonic Orchestra. Bergen the with Artist-in-Residence an was she Chamber Orchestra. In the 2017–18 season Mahler’s Wagner’s and Waart; de Edo under Orchestra Symphony Antwerp the with and Davis Andrew Sir under Orchestra ( of Sieglinde role the performed and Orchestra; Orchestra and the Philharmonic Bergen National Symphony Orchestra, Stavanger the sung also Vasily has Petrenko. under She Philharmonic Oslo the with Festival Edinburgh the at songs Strauss and Estrada Orozco Andrés under with the London Philharmonic Orchestra Verdi’s Proms BBC the at include platform concert the on highlights Recent Opera. Frankfurt and Opera State Bavarian engagements include her house with debuts the ( ( Medea ( Agathe Glyndebourne; and Opera State Naxos in title-role the sang also She ( Lisa as debut role her made she season Last Awards. Year ofthe Award the at Artist Young 2018 In Bergen. prestigious the won she in ofMusic Academy Grieg the from degree a gaining Eken, previously Susanna under 2014; in Copenhagen in studied Academy she Opera the from graduated Davidsen Lise New York Times YorkNew Times Cavalleria rusticana Cavalleria Die Walküre Die Liebesverbot Das Freischütz Der The Queen of Spades Queen The at the Aix-en-Provence Festival, Vienna Vienna Festival, Aix-en-Provence the at at the Wexford Festival; Santuzza Santuzza Festival; Wexford the at Rückert-Lieder Rückert-Lieder ) with the Toronto the ) with Symphony Four Last Songs Last Four ) at Zurich Opera; Cherubini’s Cherubini’s Opera; Zurich ) at ) at Teatro Colón. Other Other Teatro) at Colón. ) in Oslo; and Isabella Isabella and Oslo; ) in ) at Stuttgart Opera. Opera. Stuttgart ) at Wesendonck Lieder with the Norwegian Norwegian the with

with the Danish Danish the with Ariadne auf auf Ariadne Gramophone and and

Daily Telegraph Daily by Town Described Cape in London. and studied Baillieu James Africa, South in Born Baillieu James As a soloist, he has appeared with the Ulster Ulster the with appeared has he asoloist, As festivals. Aix-en-Provence Verbier and Brighton, Edinburgh, &Norwich, Norfolk Magnus, St Spitalfields, Aldeburgh, Cheltenham, Bath, Bergen, the at and Dublin, Hall, Concert National Hall, Bridgewater Musikverein, Vienna Konzerthaus, , Amsterdam Hall, Carnegie Hall, Wigmore the including venues, leading at appeared has He Yende. Pretty and Kanawa, Matshikiza Pumeza Te Kiri Dame Allen, Padmore, Thomas Sir Power, Mark Lawrence Quartet, with Heath the partnerships enjoying accompanist, and soloist musician, chamber accomplished an is He Academy.Festival Verbier ofthe Lyrique Atelier the at Programme Song ofthe head and ofMusic College Royal the Northern at Accompaniment Piano in Tutor International an is Award. He Young Artist the Royal Philharmonic Society’s Outstanding for shortlisted was Trust and YCAT and artist aBorletti–Buitoni was He Tauber Competitions. Competition, Kathleen and Ferrier Richard Competition,Song Lied Das International Song Hall Wigmore ofthe prizewinner the been has as ‘in a class of his own’ he own’ ofhis he aclass ‘in as piano The The shortlisted for the Royal Philharmonic Society’s Society’s Royal the Philharmonic for shortlisted was series This others. Padmore, among Mark and Clayton Allan Davies, Neven, Iestyn Tynan, Ailish TaraMcGovern, Henk Erraught, Walker, Adam with Hall Wigmore the Jonathan at series own his presented has Baillieu James . Chamber Vienna and English the and Orchestra Dallas Opera. Opera. Dallas and Barbican Opera, National Hall, Norwegian Wigmore the including venues at Blue Angel and Tara Clayton with Allan Erraught, appearances Yende, and Pretty with debut Hall Carnegie his Appl, Benjamin with tour American North Scandinavian recital tour with Lise Davidsen, a This season’s engagements include a Peter Moore. and Davidsen Lise Tara Barton, Erraught, Werba, Jamie Markus with performances include collaborations Recent series. Stars Rising ECHO ofthe part as Peter Moore and Appl Benjamin with appeared Award 2016. in Song and Music He Chamber

23 Lise Davidsen in recital Mon 10 Feb, Hall 24 Lise Davidsen in recital Mon 10 Feb, Hall

Mark Allen atmosphere, and purpose. poignancy ofmagic, evening an in Elgar and Sibelius by Stravinsky, works choral and orchestral Sakari 20th-century Oramo conducts Fri 22 May, Hall Oramo Symphony Orchestra/ BBC concerts: following the recommend we can youIf enjoyed today’s performances, soon yousee again to We hope

whatever time you choose to visit. to visit. you choose time whatever free, always and open always It’s events. and commissions youwhere can installations, see G, space Level avibrant visit also You can architecture. Brutalist iconic ofour history to the introduction are agreat tours towers, Barbican ofthe heights soaring to the theatre ofthe depths sunken the From Barbican the Discover

Simon Pauly music from the Baroque era with jazz classics. jazz with era Baroque the from music tango, fusing and jazz ofopera, worlds the Joyce DiDonato together brings musicians from Fri 26 Jun 7.30pm, Hall Joyce DiDonato